MSV 28523

David DUBERY

SONGS & CHAMBER MUSIC Suite from Degrees of Evidence Sonatina for Oboe & Piano David Sonata for Cello & Piano Dubery Mrs Harris in Harlequinade

ADRIENNE MURRAY : mezzo-soprano JOHN TURNER : recorder PETER DIXON : cello RICHARD SIMPSON : oboe GRAHAM SALVAGE : bassoon RICHARD WILLIAMSON : viola

made and printed in the UK metier records division, divine art recordings group CRAIG OGDEN : guitar PAUL JANES & DAVID DUBERY : piano

28523 Booklet.indd 1-2 2/7/11 10:18:36 DAVID DUBERY Songs and Chamber Music Recorded at the RNCM Concert Hall, Royal Northern College of Music, : 9 August 2008 (tracks 4-10,15), 22 December 2008 (tracks 1–3, 11-14, 18-21, 23-29) and 23 March 2009 (tracks 16-17,22,30) Piano: Steinway Concert Grand D Producer: David Ellis Sonati na for Oboe and Piano(Threesome for 2 Players) (1986) 6.34 Engineer and editor: Richard Scott 1 I. Allegro vivace 1:34 Notes © David Dubery 2011 2 II. Moderato 2:30 Design/packaging: Stephen Sutt on, Divine Art Ltd 3 III. Presto – meno mosso – tempo primo 2:27 Front Cover Photograph by David Dubery; photo of David Dubery (back cover) by William Fergusson Three Songs to Poems by Robert Graves for mezzo soprano, recorder & piano (2001) Copyright images used with permission. All rights reserved © ℗ 2011 Divine Art Ltd (Meti er division) 4 1. Under the Olives 1:43 This recording was made with support from the Manchester Musical Heritage Trust, Brian and Linda Hill, 5 2. I will write 1:45 John Turner and William Fergusson. 6 3. On Giving 1:03 Music Publishers/Copyright: Four Songs for mezzo soprano and piano 8.14 Sonati na for Oboe and Piano published by Sunshine Music (distributed by Spartan Press) 7 Another Spring (1985; Douglas Gibson) 2:25 Three Songs to Poems by Robert Graves, Harlequinade, and Mrs Harris in Paris: Peacock Press 8 Sudden Light (1985; Dante Gabriel Rossetti ) 2.44 The Birds: David Dubery/NSM 9 Onyons (1984; Jonathan Swift ) 1:15 Two Stopfordian Impressions: Forsyth 10 The Birds (1971; Hilaire Belloc) 1.50 Walking Cimbrone: Emerson Suite from Degrees of Evidence for recorder, oboe and viola (2004) 7.38 11 1. Memory: Adagio molto calmo e sostenuto 2:33 The divine art family of labels 12 2. Certainty: Vivace con moto ma non troppo 1:11 13 3. Possibility: Adagio grazioso 2:28 14 4. Absurdity: Poco pesante 1:19 Over 300 titles, with full track details, reviews, artist profi les and audio samples, are on our website. 15 Remember (2005: Christi na Rossetti ) for voice and piano 3:11 Available at any good record store or direct from our secure web stores. Two Stopfordian Impressions for recorder and piano (2008–9) 6:08 Divine Art Ltd., 3 Cypress Close, Doddington, Cambridgeshire PE15 0LE, UK 16 1. Pinch Belly Park: Lento con rubato 3:53 Tel: +44 (0)1609 882062 email: [email protected] 17 2. The Glass Umbrella: Spiritoso 2:08 www.divine-art.co.uk Sonata for Cello and Piano (2006) 11.22 Diversions LLC, 62 Country Club Road, Brandon, VT 05733, USA 18 I. Vivace 3:29 Tel: +1 802 465 4071 email: [email protected] 19 II. Lento 3:22 www.divineartrecords.com 20 III. Energico – Lento – A tempo 4:25 Most titles also available in digital download through iTunes, Classics Online and at http://divineartdigital.downloadcentric.net

WARNING: Copyright subsists in all recordings issued under this label. Any unauthorised broadcasti ng, public performance, copying or re-recording thereof in any manner whatsoever will consti tute an infringement of such copyright. In the , licences for the use of recordings for public performance may be obtained from Phonographic Performance Ltd, 1, Upper James Street, W1R 3HG. 2 19

28523 Booklet.indd 3-4 2/7/11 10:18:37 The performers 3

recorded concertos by Peter Hope, John Addison, Eric Fogg and Arthur Butterworth, with the Royal Escapades for recorder, bassoon and piano (2008–9) 10.13 Ballet Sinfonia conducted by Gavin Sutherland. Other recordings include works with the Hallé 21 I. Moderato 1:34 Orchestra and Sir Mark Elder, chamber pieces on the Campion Cameo label and Peter Hope’s Four 22 II. Lento 3:35 Sketches for oboe, bassoon and piano for Dutton. He teaches at the Royal Northern College of 23 III. Espressivo 2:30 Music, Chetham’s School of Music and Manchester University and is an adjudicator and examiner 24 IV. Poco agitato 2:28 for various institutions including the Associated Board. 25 Walking Cimbrone for bassoon and piano (2007) 3:43 Born in and a founder member of the Australian Chamber Orchestra, Richard Williamson came to England in 1976 where he became Principal Viola with the London Mozart Players. Harlequinade for recorder and guitar (2007) 12.35 Following a highly acclaimed solo debut at the Wigmore Hall he joined the English Chamber 26 I. Pantalone’s Minuet 3:42 Orchestra. He later became Principal Viola with the City of London Sinfonia, Guest Principal 27 II. Colombina’s Intrigue 0:53 with the English Chamber and Scottish Chamber Orchestras and is currently Principal with the 28 III. Colombina’s Romance 4:08 Manchester Camerata and a member of the MacFarlane String Quartet. He has recorded for 29 IV. Arlecchino 3:46 Campion, Cameo and Dutton Epoch. 30 Mrs Harris in Paris (Valse Temptation) for treble recorder and piano (2003) 3:45 Paul Janes was a finalist in the BBC Young Musician of the Year in 1968 and has been a finalist and prize-winner in the international piano competitions Casagrande (Italy), Dudley, AT&T Istel, winning Total CD duration 78.47 the Bryden Thomson Memorial Prize in the Scottish International Competition. He studied at the Royal Northern College of Music where he won the Sir Thomas Beecham Medal, Gordon Green Memorial and Sir Malcolm Sargent Awards, and Countess of Munster and Ian Fleming Scholarships. He took masterclasses with Charles Rosen, Pascal Rogé, Arnaldo Cohen and Joachim Volkmann, and studied with Aldo Ciccolini at the Académie Maurice Ravel at St Jean de Luz in . His career encompasses recital and chamber appearances and teaching (he is Senior lecturer in Adrienne Murray (mezzo-soprano) tracks 4-10, 15 Keyboard Studies at the RNCM, Manchester), and has performed concertos in some of Britain’s John Turner (recorder) tracks 4-6, 11-14, 16-17, 21-24, 26-30 major concert halls with the conductors Yan Pascal Tortelier, Martyn Brabbins, Barry Wordsworth, Peter Dixon (cello) tracks 18-20 Richard Simpson (oboe) tracks 1-3, 11-14 Richard Hickox and Leonard Slatkin. He appears regularly with the BBC Philharmonic Orchestra Graham Salvage (bassoon) tracks 21-25 Craig Ogden (guitar) tracks 26-29 and features on several Chandos CDs. As a chamber musician he has appeared at the Cheltenham International and Lake District Summer Festivals and at the Wigmore Hall. He has a long-standing Richard Williamson (viola) tracks 11-14 duo partnership with the cellist Rebecca Gilliver. David Dubery (piano) tracks 4-10, 15 Paul Janes (piano) tracks 1-3, 18-20, 21-25, 30

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David Dubery was born in Durban, South Africa, in 1948, and studied piano from the age of five. The Grammy nomination. BBC Music Magazine dubbed Ogden ‘a worthy successor to Julian Bream’ rugged sea and landscapes there instilled in him a love of nature. To further his musical and artistic and his seven Chandos releases of concertos and recital discs have received sparkling reviews from skills the family emigrated to his mother’s home town of Manchester, England in 1961, before South the major music media. His concerto premieres including the first British performance of John Africa became a Republic. He started composing in 1962, continued with piano lessons developing his Corigliano’s Guitar Concerto and that of Gerard Brophy. He is Principal Lecturer in Guitar at the skills in sight reading and improvisation and had many opportunities during his teens to perform his Royal Northern College of Music, Manchester where he was made a Fellow in 2004 and is married own piano compositions at school speech days and concerts, and as a junior student at the Northern to the British mezzo soprano Claire Bradshaw. School of Music (NSM) [1964-67]. After winning the 1965 Composition Prize he was awarded a Peter Dixon, cello, studied at the Royal Academy of Music and made his Purcell Room debut in course of composition lessons with Dorothy Pilling, best known for Harmonization of Melodies at 1981. He joined the Royal Philharmonic Orchestra in 1984 and was appointed Associate Principal the Keyboard, as well as delightful Vignettes for piano solo and a number of attractive songs. His in 1986. He became Principal of the BBC Philharmonic in 1990 and made his concerto debut in the insatiable thirst to discover music was so strong he accepted the offer of a three year degree course Walton Cello Concerto at the Royal Festival Hall the following year. He gave the world premiere at the NSM. His piano tutors were Eileen Chadwick and the distinguished concert pianist Kendall of Yoshimatsu’s Cello Concerto, written especially for him, with the Kansai Philharmonic of Osaka Taylor CBE. The principal, Ida Carroll kept him busy with many recitals in College, Music Clubs and and subsequently with the Japan Philharmonic in Tokyo, recording it with the BBC Philharmonic for Societies. Studying with Albert Haskayne he developed a useable baritone voice and sang in Choral Chandos. Other Chandos recordings include the Korngold Cello Concerto and the soundtrack of the Works and with the Hallé and NSM Orchestras under the direction of Sir Charles Groves, 2008 filmBrideshead Revisited; and he features as soloist on several albums conducted by Yan Pascal James Robertson, and Maurice Handford. Most memorable were Sir John Barbirolli’s glorious farewell Tortelier He appears regularly in recital and is a member of the Puligny String Quartet. In June 2004 performances of Verdi’s . he was made a Fellow of the Royal Academy of Music. In 1969 he was awarded a Hesse Scholarship to Aldeburgh where he came under the influences of Richard Simpson, oboe, studied at the Royal College of Music. He was first appointed sub-principal Benjamin Britten, Peter Pears and Imogen Holst and where he formed friendships with Peter Holman with the BBC Symphony Orchestra; after a year he joined the Hallé Orchestra as principal for the next and David Matthews. Time spent with them resulted in a collaborative private recording for Imogen eight years and was featured as soloist in performances of concertos by Mozart, Strauss, Vaughan of her father’s Sita [1970]. Williams, Martinu and Hummel. In 1991 he returned to the BBC Symphony Orchestra as principal. His first BBC broadcast wasCastles in the Air in 1971 following a successful performance at NSM sung He performs on several recordings for Campion Cameo and regularly in chamber recitals, often by Diane Marshall. Other broadcasts followed; a recital with violinist Philip Sutton [BBC Northern accompanied by his wife, Janet Simpson. S.O.], Rhymes for Children [1973] and Two Canticles for voice & piano [1980]. Graham Salvage has been Principal Bassoonist of the Hallé Orchestra since 1981. He studied at the Since 1972 he has enjoyed a multi-faceted music career as solo pianist, accompanist, composer, Royal Academy of Music with Gwydion Brooke and later in with Klaus Thunemann while vocal coach, musical director and teacher of piano and voice. During the 1970’s he wrote several holding positions in two opera-house orchestras. He has appeared as guest principal with many musicals that received a number of highly praised staged performances and during these years he orchestras including the London Symphony, Philharmonia, Royal Philharmonic, BBC Symphony, partnered in concert some outstanding singers at the start of their professional careers including BBC Philharmonic, BBC Scottish and the Welsh National and English National Opera. Graham has Jane Eaglen, Barry Banks, Joan Rodgers, and Claire Moore and Jeffrey Lawton. Throughout the recorded concertos by Peter Hope, John Addison, Eric Fogg and Arthur Butterworth, with the Royal premiered several works including John Gardner’s Bassoon Concerto (2007) and for ASV he

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Born in the Isle of Man, the mezzo soprano Adrienne Murray studied at the Huddersfield 1980s he toured as part of the Verlaine Duo with oboist Jonathan Tobutt which gave him the Polytechnic and the Royal Northern College of Music. Operatic roles with Monte Carlo, Covent chance to write a Sonata Since dawn is breaking [1981], Sonatina [1986] [tracks1-3], and solo Elegy Garden, Civit Hills and Mananan Opera Festival have included Arcane (Handel, Teseo), Marcellina for E.S. [1983]. The duo made its BBC broadcast debut for the Manchester Midday Concerts Society in (The Marriage of Figaro), Despina (Così fan tutte), Mother (Humperdinck, Hänsel und Gretel) 1982 and London debut at St Martin in the Fields in 1986. Dido (Dido and Aeneas), Ariane (Dukas, Barbe bleue), Filipievna (Tchaikovsky, Eugene Onegin) and He coached actors from musical theatre, TV, stage and film, taught cast members from over 25 West-End Governess (Pique Dame). and national-tour productions, and worked in the departments of Dance, Drama and Music in Colleges In oratorio and concert her repertoire ranges from Messiah and the Bach Passions to Mahler’s of Further Education, The Manchester School of Music and The Actors Centre. From 1985-2003 at Second Symphony. She has sung under the direction of Sir Georg Solti, Sir Charles Groves, Jane the Northern Ballet School he was staff pianist, vocal tutor, and Musical Director for their Showcase Glover, Stephen Cleobury, Nicholas Cleobury, Marc Minkowski, Jean-Claude Malgoire and Owen Productions at the Dance House Theatre. Arwel Hughes. She has been a member of the BBC Northern/Britten Singers since 1985, appearing Being largely self-taught he works in a traditional at Aldeburgh, Harrogate, Cambridge, Tewkesbury and Chester Festivals and has recorded for language preferring miniature to medium Chandos directed by Sir Richard Hickox and has broadcast for radio and television. In March 2010 she sized projects. His music is tonal, rooted in past premiered Roger Steptoe’s Three Paul Verlaine Songs at the Lionel Tertis International Viola Festival. traditions, and working with dancers and actors Since 1995 she has appeared regularly in recital with David Dubery. has ensured rhythm and movement play an John Turner is one of the leading recorder players of today. He studied Law and was Senior Scholar integral part in its composition. European travel, at Fitzwilliam College Cambridge before pursuing a legal career, acting for distinguished musicians, visiting Italian cities, coasts and islands, and in composers and musical organisations. Balancing two careers, he performed with David Munrow particular Lake Como, has allowed him to indulge and the Early Music Consort of London, and has appeared as soloist with the Academy of Ancient his passion for photography, capturing images he Music, the English Chamber Orchestra, English Baroque Soloists, Hallé and BBC Philharmonic often uses as a resource and inspiration for his Orchestras and Manchester Camerata. His discography includes recordings for ASV, Olympia, music creation. Campion Cameo, Metier, White Line, Dutton, Naxos, Toccata Classics and Guild. He devotes much of his time to writing, reviewing, composing and publishing. He has his own catalogue of recorder works published by Forsyth and Peacock Press, has commissioned countless works to enhance the recorder repertoire and premiered well over four hundred new works. He was awarded an Honorary Fellowship by the Royal Northern College of Music in 2002 for his services to British music. Born in Australia, the guitarist Craig Ogden has recorded for Chandos, Nimbus, Virgin Classics, Hyperion, Collins Classics, Sony and Dutton and has performed concertos with many orchestras, including the London Symphony, London Philharmonic, Ulster, Hallé, BBC Philharmonic Orchestras as David Dubery well as with the National Orchestra of South Africa and Western Australian and Melbourne Symphony Orchestras. His widely acclaimed debut solo album of contemporary British works received a 16 5

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Sonatina for Oboe and Piano [1986 dedicated to William Fergusson], has three ternary form movements. In the Allegro Vivace [1], the oboe has a quirky, playful tune over vibrant syncopated piano rhythms. A brief central section assumes a more contemplative air before resuming thea tempo. The Moderato [2] feels like a cantilena depicting a pastoral Sunday, contrasting with an ecclesiastical quasi chorale before returning to a variation on previous material. The final movement Presto [3] is spiced with spiky, staccato militaristic configurations for the piano and strong declamatory oboe phrases before a sequence of arpeggiated chords entices one into a reflective, nostalgic mood. After a recapitulation the work concludes with a cheeky, delicate staccato prestissimo. Three Songs to Poems by Robert Graves [4-6] was written for recitals in which I accompanied John Turner and mezzo-soprano Helen Francis. The first performance took place at the Prestwich Music Club, Manchester on 4 November 2003. The songs range in style from gently dreamy to slick and jazzy. I will write was reworked from a 1973 version of the song for voice and piano. Three of the four Songs for medium voice and piano which follow were conceived as a group alongside Paul Janes Richard Simpson two others not included here. I composed Another Spring [1985][7] to a poem by Douglas Gibson Graham Salvage Richard Williamson whose work reflects my love of nature, and with whom I enjoyed a correspondence during his latter years. His poem echoes the sentiments of Housman’s The cherry hung with snow: though time for each of us is relatively short, there will always be a spring for others to enjoy. The words were set by kind permission of Douglas and his wife, Dorothy. I particularly enjoyed the challenge of the depiction of the Lapwings erratic flapping flight. Sudden Light [1985 dedicated to Lillian Doris Dubery][8] to a well-loved poem by Dante Gabriel Rossetti was written during a dark-time dominated by the early and unexpected death of my mother. The changing time signature between four and three counts to the bar creates fluidity while harmonies pivot between minor and major. Onyons [1984][9] is a setting of Jonathan Swift; a rollicking, colourful Irish characterization written for and dedicated to the distinguished Irish mezzo-soprano Bernadette Greevy. These three songs were first performed by Anne Louise Rollings for the Romiley Music Group, Cheshire, in 1986. The Birds [10], my first published solo song, is also dedicated to ‘Detta’. It was written in 1971 as the fifth song of Castles in the Air; eight settings of Hilaire Belloc.

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Subtitles found in Roget’s Thesaurus chapter heading class 4, intellect, form the titles for Degrees of Evidence, [2004] [11-14], a six-movement trio for recorder, oboe and viola. John Turner requested a companion piece to Peter Crossley-Holland’s lovely trio for the same unusual forces. The Suite on this recording features four of these movements. Dedicated to the memory of Ida Carroll, OBE, it was premiered by John Turner (recorder), Lisa Vergese (oboe) and Rachael Jones (viola) at the RNCM Concert Hall on 24 September 2005. The suite also exists in versions for string quartet and for chamber orchestra. Memory [11]: past thought; includes words reminiscence, suggestion, unforgettable. I recalled old photographs, landscapes, faces, bird calls. Certainty [12]: and Possibility [13]: are material for reasoning. The former lists the words sureness, positive, decisive, assured, unquestionable, obvious; the latter with its Bach-like overtones, potentiality, accessible, performable. Absurdity [14]: nonsense, farce, joke, ridiculous in which I was reminded of childhood games of Tag, Hide & seek, and the bizarre Adrienne Murray Craig Ogden gurning faces of children. The two movements not represented here are Discovery and Imagination. John Turner Peter Dixon Remember [15]: After the death of Margaret Alice Brattle shortly before Christmas 2004, her daughter Linda Hill commissioned me to set her mother’s favourite sonnet, from Goblin Market and other poems published in 1862 by Christina Rossetti, in memory of this much-loved lady. Two Stopfordian Impressions John Turner, born, educated and living in Stockport, is a Stopfordian. He asked me to write a piece commemorating his home town for a recital at Stockport Grammar School on 11 October 2008. The Glass Umbrella [17] was composed in August that year, the title being the popular name given to the 1861 Stockport Market built of timber, glass and iron; nine bays with open sides and a glass canopy. The scene is a lively market day, cries of Pick and pay without delay from market traders, the cascading peel of ten bells from nearby St Mary’s Church represented in descending scale passages, and present-day West Indian culture captured in a brief calypso interrupted by a fleeting reference to Wainright’s Christmas hymn Christians Awake. The half-hour Westminster Chime from St Mary’s brings the piece to a peaceful conclusion. Pinch Belly Park [16] subtitled A Solitary walk in winter was written during the cold January of 2009 after John requested a companion piece to The Glass Umbrella. It paints a melancholic winter landscape, the recorder soaring in lyrical song

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over shifting minimalist harmonies. Poor mill workers who built Stockport’s oldest park on land donated by Lord Vernon referred to it as Pinch Belly Park. The 21 acres include a bandstand, museum, ornamental fountains, fernery, rockery, borders, sunken rose-garden and terraced walkways that overlook the river and weir, the latter depicted by sextuplet semi-quavers in the piano. The park was opened in 1858. Its Victorian origins are echoed in a concluding quote from REMEMBER Elgar’s Salut d’amour of 1899. Both pieces were performed at the 750th anniversary of Stockport’s \ market at St Mary’s Church on 2 September, 2010. These pieces are also published for Oboe and Remember me when I am gone away, Piano. Gone far away into the silent land; The Sonata for Cello and Piano took wing from a commission to write for double bass and piano When you can no more hold me by the hand, in March 2006. That commission never came to fruition and having completed two thirds of Nor I half turn to go yet turning stay. the first movement I rewrote it for cello which gave me opportunities to explore this beautiful Remember me when no more day by day instrument. The opening Vivace [18], fanfare asserts itself, built upon two minor-seventh chords You tell me of our future that you planned: leading to a journeying lyrical second subject. These ideas are subsequently developed in a free Only remember me; you understand fantasy culminating in a resonating A major 7th chord. The reflective central Lento [19] intensifies It will be late to counsel then or pray. as the music climbs higher and higher in pitch. I was inspired by walking in the hills above Varenna, Yet if you should forget me for a while Lake Como, Italy. The tempestuous Energico [20] sets off at a frantic pace, fuelled by vibrant Latin And afterwards remember, do not grieve: rhythms. Respite is found in a brief Lento recalling the previous movement before re-stating the For if the darkness and corruption leave agitato that climaxes in bravura style, taking the cello to its uppermost register and concludes with A vestige of the thoughts that once I had, a majestic B major 7th chord. Better by far you should forget and smile Than that you should remember and be sad. Escapades [2008] [21-24], for recorder, bassoon and piano, was written for Graham Salvage and John Turner. Conversations flow between all three players and offer opportunities to inhabit different Christina Rossetti emotions. No. 1 with its constant change of meter concerns itself with shapes and contortions. (from Goblin Market, published 1862) No. 2 is serene, contemplative with oriental overtones. No. 3 begins in moody isolation before the instruments interweave lyrical and rhapsodic phrases. No. 4 is light hearted, tongue in cheek, and has elements of the neo classical.

Walking Cimbrone [25] is a concert piece written for Graham Salvage in January 2007. It was inspired by the sudden appearance of a stray dog that adopted my partner and I during a visit to the Villa Cimbrone in Ravello, southern Italy, in 1996. The dog we christened Cimbrone, was sad, comic and manic and caused embarrassment at every turn. Our vain attempts to lose him occupied

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the best part of the afternoon. Relief came when suddenly Cimbrone bounded across the road in ONYONS pursuit of a stranger carrying a bag of tasty pastries. \ Come, follow me by the smell, Harlequinade dates from the summer of 2007, written for and dedicated to Craig Ogden and John Here are delicate onions to sell; Turner. I revised it in February 2008 after a work-shop performance for theNew Music in Manchester I promise to use you well. Seminar at Cross Street Chapel in November 2007. Harlequinade is the name given to the eighteen- They make the blood warmer, century English adaptation of the Italian commedia dell’arte, although Italian names have been You’ll feed like a farmer; retained for the characters. My interest in commedia dell’arte dates back to 1964 when I was cast in For this is every cook’s opinion, the role of Florindo in Goldoni’s masterpiece The Servant of Two Masters at the High School of Art. No savoury dish without an onion; Pantalone, a rich, lecherous and devious Venetian merchant of high social standing constantly fears But, lest your kissing should be spoil’d, the loss of his wealth and position. He wears a mask with a long curved pointed nose, his gait is bent Your onions must be thoroughly boil’d: and shuffling, and his gestures elaborate, accompanied by improper innuendo and lewd cat-calls. He Or else you may spare is depicted in Pantalone’s Minuet [26]. The guitar plays the melody three times with ever-increasing Your mistress a share, THE BIRDS elaborations for the Treble Recorder. Colombina’s Intrigue [27] depicted on the descant recorder The secret will never be known: \ portrays the servant girl/ lady’s maid under the patronage of Pantalone as a vain, free spirit, prone to She cannot discover When Jesus Christ was four years old gossip and intrigue, Her costume mirrors the diamond-shaped patches and a black or red mask of her The breath of her lover, The angels brought Him toys of gold, lover Arlecchino. It is followed segue by Colombina’s Romance [28] The Romance given to the But think it as sweet as her own. Which no man ever had bought or sold. recorder shows Colombina’s personal relationship with Arlecchino [29] whose origins are many and can be found in French, German, Scandinavian and Italian folklore. He is of lowly stock, high-spirited, Jonathan Swift And yet with these He would not play. agile, sometimes slow witted, but full of cunning invention. A return to the treble recorder demands He made Him small fowl out of clay, some virtuoso playing from both players, including a hammed-up drunken interlude. And blessed them till they flew away: Mrs Harris in Paris (Valse Temptation) Tu creasti Domine I reworked this Parisian concert waltz [30] in September 2003 from sketches (1980) for an abandoned musical adaptation of Paul Gallico’s Mrs Harris Goes to Paris. The waltz depicts the cockney charlady Jesus Christ, Thou child so wise, Mrs Ada Harris who becomes obsessed by the idea of owning a Dior dress and against all odds travels Bless mine hands and fill mine eyes, alone to Paris in pursuit of her dream. Temptation is the name given to her chosen gown by the House And bring my soul to Paradise. of Dior. The first performance was given by John Turner for the Prestwich Music Club on 4 November 2003. The following January I orchestrated it for recorder/flute and strings and John Turner recorded Hilaire Belloc it in July with the Camerata Ensemble. ©Hilaire Belloc (1929) reproduced by kind permission of PFD on behalf of the Estate of Hilaire Belloc  12 British Recorder Concertos on Dutton Epoch CDLX 7154. 9

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Three poems by Robert Graves Four Songs

UNDER THE OLIVES (‘More Poems’ 1961) ANOTHER SPRING (Easter 1949) \ \ We never would have loved had love not struck How beautiful the country now Swifter than reason, and despite reason: With blossoms white upon the bough, Under the olives, our hands interlocked, As slowly through the ocean sky SUDDEN LIGHT We both fell silent: The clouds like sailing-ships ride by. \ Each listened for the other’s answering I have been here before, Sigh of unreasonableness – A ploughman goes with steady tread But when or how I cannot tell: Innocent, gentle, bold, enduring, proud. I WILL WRITE (‘Man does, Woman is’ 1964) Across the field, the russet red I know the grass beyond the door, \ Of earth shines golden in the light, The sweet keen smell, He had done for her all that a man could, Gashed by the Lapwings’ black and white. The sighing sound, the lights around the shore. And some might say more than a man should. Then was ever a flame so recklessly blown out Though many springs have come and passed You have been mine before,– ON GIVING (‘Love’s Respelt’ 1966) Or a last goodbye so negligent as this? Each seems more lovely than the last; How long ago I may not know: \ ‘I will write to you’, she muttered briefly, But when for me all springs are done But just when at that swallow’s soar Those who dare give nothing are left with less Tilting her cheek for a polite kiss: And darkness shuts out sky and sun… Your neck turn’d so, than nothing; Then walked away, Some veil did fall,– Dear heart, you give me everything, Nor ever turned about… Others will marvel how each year I knew it all of yore. Which leaves you more than everything Long letters written and mailed in her own head The miracles of spring appear, Though those who dare give nothing might There are no mails in a city of the dead. And with my eyes will find delight Has this been thus before? Judge it left you less than nothing. In blossom, sky and Lapwings’ flight. And shall not thus time’s eddying flight Giving you everything I too, Still with our lives our love restore Who once had nothing, Douglas Gibson In death’s despite, Am left with more than everything (from The Singing Earth published by Heineman And day and night yield one delight once more? As gifts for those with nothing who need, Ltd reprinted by kind permission of Mrs Dorothy If not our everything, The texts of the three Graves poems are reprinted Gibson) Dante Gabriel Rossetti At least a loving something. by kind permission of Carcanet Press Ltd.

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28523 Booklet.indd 19-20 2/7/11 10:18:42 msv 28523 divine artrecord company, doddington, england +44 (0)[email protected] produced by David DUBERY Songs & Chamber Music msv28523 David DUBERY 30 Mrs Harris inParis (Valse Temptati on)[3.45] 28 III.Colombina'sRomance [4.08]29IV. Arlecchino [3.46] 26 I.Pantalone's Minuet [3.42]27II.Colombina's Intrigue [0.53] Harlequinade for recorder andguitar [12.35] 25 Walking Cimbrone for bassoonandpiano[3.43] 24 IV. 21 I. Escapades for recorder, bassoonand piano[10.13] 18 I. Sonata for Cello andPiano[11.22] 16 No.1PinchBellyPark: Two Stopfordian Impressions for recorder andpiano[6.08] 15 Remember for voice andpiano[3.11] 13 Possibility: 11 Memory: Suite from Degrees ofEvidence [7.32] 10 TheBirds [1.50] 7 AnotherSpring[2.25]8SuddenLight [2.44]9Onyons [1.15] Four Songsfor mezzo soprano andpiano[8.14] 6 No.3OnGiving[1.03] 4 No.1UndertheOlives [1.43]5No.2Iwillwrite [1.45] Three Songsto Poems by Robert Graves 3 III. 1 I. Sonati na for OboeandPiano[6.34] Allegro vivace Moderato Vivace Presto –menomossotempo primo Poco agitato [3.29]19II. Adagio molto calmo esostenuto Adagio grazioso [1.34]22II. [1.34]2II. [2.28] kindly supported by the Manchester Musical Heritage Trust SONGS &CHAMBERMUSIC Lento con rubato Lento [2.28]14Absurdity: Lento [3.22]20III. Moderato [3.35]23III. [2.27] [2.30] [3.53]17No.2TheGlassUmbrella [2.08] [2.33]12Certainty:

Energico Espressivo

Poco pesante – Lento – [2.30] A tempo [1.19] Vivace con moto manontroppo (4.25] Adrienne Murray (mezzo-soprano) Paul Janes &David Dubery (piano) Richard Williamson (viola) Graham Salvage (bassoon) [1.11] Richard Simpson (oboe) John Turner (recorder) Craig Ogden (guitar) Peter Dixon (cello) LC msv28523

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Total CD durati on: 78.47 on: durati CD Total

Songs & Chamber Music Chamber & Songs

msv28523 David DUBERY David